Cinderella - Review

Richmond Theatre, Richmond

*****

Written by Harry Michaels & Alan McHugh

Additional material by Gary Wilmot

Directed by Gary Wilmot

Jak Allen-Anderson, Charlie Stemp & Stephen Guarino

Richmond Theatre’s Cinderella is an absolute fairytale of a pantomime. With countless recent years’ experience of taking a leading role in London’s Palladium panto, Gary Wilmot steps off the stage to direct at Richmond and he helms an absolute blast of a show!

Helen George takes the show’s starriest billing as the story’s enchanting Fairy Godmother, and with a stunning voice to match. The evening quickly launches into a cover of Petula Clark’s Downtown covered instead into Richmond. It's fabulously sung by all the cast and sets the tone for top-notch pantomime humour, brilliantly delivered.

Taking the honours as Buttons is one of the nation’s greatest musical theatre triple-threat performers, the incomparable Charlie Stemp. His is a brilliantly bashful, bungling Buttons, combining physical comedy with bursts of sensational dance numbers. Stemp has also polished his pantomime craft at the Palladium and it shows. Adults and children alike, he holds the audience in the palm of his hand, working the room magnificently. 

Stemp and George have to share the spotlight however with that venerable old fox, Basil Brush as Baron Basil Hardup . With 63 performing years to his name Brush knows his way around a panto and while the kids in the audience may have been confused as to what the role was of this on-stage ventriloquist’s *mouse* (I kid you not, I heard them call Basil a mouse. Oh yes I did!), the grown-ups groaned with laughter at every one of the puppet’s trademark “Boom Booms”.

Did I mention dance? Well it helps that the show is choreographed by the world-class legend that is Stephen Mear. Rarely (maybe even never) are out-of-town pantomimes performed with such classy choreography, as Mear coaxes brilliance not just out of Stemp, but from his entire ensemble. Don’t ask how they fit into the narrative, but the cutest routine of tap-dancing polar bears, drilled to pawed perfection, has to be seen to be believed!

The show’s baddies are wickedly played by Jak Allen-Anderson and Stephen Guarino as the ugly stepsisters, American actor Guarino making his panto debut! The pair are great fun, well-earning the evening’s boos.

Hope Daw, Tom Major and Michael Lin respectively play the relatively straight roles of Cinderella, Prince Charming and Dandini, with all delivering fine work that makes the evening soar.

The second act rolls out the comedy highlights, with a hilarious tongue-twisting scene, matched only by a hilariously and (almost) perfectly co-ordinated take on the physically demanding If I Were Not At Hardup Hall Someone Else I’d Rather Be. Equally, the show’s penultimate number, the little know ABBA gem, Gimme Gimme Gimme A Slipper That Fits Me is another festive gem!

It’s not often that one sees pantomime of top-notch West End quality for the cost of a local ticket. Don’t miss Cinderella at the Richmond theatre. It’s a Christmas cracker! 

Runs until 4th January 2026

Photo credit: Ian Olsson

Cinderella And The Matzo Ball - Review

JW3, London

***

Written by Nick Cassenbaum

Directed by Abigail Anderson

Talia Pick and Debbie Chazen

Cinderella and the Matzo Ball marks the JW3rd pantomime from Nick Cassenbaum at London’s eponymous community centre.

Talia Pick plays the titular heroine in a fantastic performance. Talya Soames as Buttons is equally strong. 

Yet again however, Cassenbaum and his director Abigail Anderson choose not to cast a man (or men) in drag for some of this classic fairytale’s famously monstrous roles. There’s scope for hideousness (which both adults and children adore) in Cinderella’s famously ugly sisters and while the competent Libby Liburd and Rosie Yadid dutifully fulfil their sisterly responsibilities with strong turns, the show would have been so much funnier if they’d been replaced by men in frocks. At long last however Debbie Chazen is perfectly (and appropriately) cast in a JW3 panto as the story’s Fairy Godmother.

It is also hard to fathom why Cassenbaum has upended the traditional narrative by making the usually anodyne (but charming) Prince Charming, in this iteration, a money-grabbing villain. There’s enough antisemitic tropery in the world as it is, without such a troublingly unhelpful blunder.

For the most part Cassenbaum's gags are weak. The one truly sparkling gem of humour is his take on Wicked’s Popular, reworked here into Secular. Josh Middleton’s musical adaptations are excellent, with Yael Lowenstein’s choreography similarly an impressive treat in the tight confines of the JW3 space.

Children will love the show with its strong acting and visuals - Cinderella's transition into her ballgown is a delight - and parents will enjoy their kids' laughter. But this show could have been so much more.

Runs until 4th January 2026

Photo credit: Charlie Flint

Wicked For Good - My Thoughts

Finally caught up with Wicked For Good last night. Went in sceptically, came out in adoration.

Firstly, the criticisms:

Not *sure* that the original merited being served up as two full-length feature-film chapters - that being said, the film offers a greater scenic treat than the stage so maybe there is a justification.

Similarly - Stephen Schwartz’s new songs (especially No Place Like Home) feel like padding… there’s not much “Wow” in the new numbers compared to the brilliant original.

Also - TBH the CGI left me unmoved - I don’t need to see Elohaba fly on her broomstick, nor do I crave the sight of a menagerie of liberated beasts… but I’m sure that many others will have thoroughly enjoyed the digital wizardry.

THAT BEING SAID….

The acting (and singing) is off the scale. Both Cynthia Erivo and Ariana Grande deliver the complex nuances of their roles to perfection - and given that cinema is all about the close-up, their facial work is sensational. One of the best on-screen dramas to be found this year.

Equally the supporting work from Jonathan Bailey (Fiyero), Ethan Slater (Boq) , Marissa Bode (Nessarose) and of course Jeff Goldblum as the Wizard is all delivered with pinpoint accuracy.
And fab to spot so many unsung greats from the pool of UK musical theatre talent, popping up all over the place in various minor roles. 

If you haven’t already seen it - catch it on a big screen somewhere before it streams its way into the global consciousness!

Beauty and the Beast a Horny Love Story - Review

Charing Cross Theatre, London

****

Written by Jon Bradfield and Martin Hooper

Directed by Andrew Beckett

Keanu Adolphus Johnson and Matt Kennedy

Writers Jon Bradfield and Martin Hooper have transferred the classic fairytale over the sea from France to the Scottish village of Lickmanochers. With the town of Suckmacoch nearby, the scene is perfectly set for one of the capital’s filthiest, funniest pantomimes this year.

Deliciously de-Disneyfied, and with a wonderfully improbable storyline that is best not subject to too much scrutiny, it’s no real spoiler to say that Keanu Adolphus Johnson’s gay Beast does follow the tale’s traditional path, winning the love of Matt Kennedy’s virginal Bertie.

Matthew Baldwin’s Dame Flora (“easily spread”) is a blast, with an array of costumes that include a fabulous take on Angela Lansbury/Mrs Potts’s teapot. Dani Mirels (as Juno) and Laura Anna-Mead (Bonnie) provide the evening’s sapphic love interest.

As Bradfield and Hooper spoof many of the cartoon’s numbers, there’s a terrific rip-off of Belle to get things started, with a sensational Be Our Slave featuring later in the show. Quite how the narrative winds up in the North Sea (with In The Navy evolved into On An Oil Rig) is a conundrum but frankly it doesn’t matter. The dialogue is slick, sassy and coarse, with knowing theatrical nods and references to satisfy even the wisest West End Wendy. The shows production values are fab. Andrew Beckett’s direction is strengthened by David Shields’s simply sumptuous sets and Carole Todd’s imaginative choreography.

Leave the kids at home and treat yourself to a classy night out that's as camp as Christmas.

Runs until 11th January 2026

Photo credit: Steve Gregson

Jack and the Beanstalk - Review

Palace Theatre, Watford

****

Written by Steve Marmion

Directed by James Williams

Jack and the Beanstalk at Watford Palace Theatre makes for fine family fun. From its opening number of Alicia Keys’s Empire State of Mind that delightfully transforms its haunting New York lyric into Watford, the show is off to a cracking start. 

Imad Eldeen puts in a fresh-faced turn as Jack but it is Watford’s favourite dame, Terence Frisch now in his 13th season at the venue, who drives the show’s comedy as Jack’s mum Dame Trott. The other on-stage powerhouse  is Lauren Azania as Fairy ‘Nuff whose energy and vocals are never less than excellent. The evening’s boos are well earned by Jessica Dennis as the Giant’s assistant Judi Henchman while the enormous puppet Giant is boomingly voiced by Stephen Fry.

This is a lovely local panto with a fabulously drilled troupe of local young performers providing the dance and some modest acting backup too. Don’t ask why, but somehow Rent’s Seasons of Love is shoe-horned into the narrative, with credit to the entire on-stage company for delivering gorgeous vocals to that number (and great work too from Associate Musical Director Dominic Bull on keys). There was a smattering of recent pop hits included, that may well have bypassed the over 40s in the audience but certainly had the kids grinning in recognition. 

Frisch’s banter is spot-on throughout, with his dress that sees him as local legend Elton John sprawled across a piano, one of the evening’s highlights.

If smiling, laughing kids and adults are the hallmark of a great pantomime, then Steve Marmion and Watford Palace Theatre have delivered a fabulous show.

Runs until 4th January 2026

Paddington The Musical - Review

Savoy Theatre, London

****

Music and lyrics by Tom Fletcher

Book by Jessica Swale

Directed by Luke Sheppard

Based on A Bear Called Paddington written by Michael Bond and the film ‘PADDINGTON’, by special arrangement with STUDIOCANAL

James Hameed and Arti Shah

Newly arrived from deepest, darkest Peru, Paddington The Musical has opened at London’s Savoy Theatre and visually, it’s a treat!

On the night of this review Abbie Purvis, the alternate Paddington, played the onstage bear as James Hameed voiced Paddington, the two of them combining to create one of the finest characters to be found on a London stage. The fusion of technical wizardry, Tahra Zafar's fabulous bear designs and the pair’s acting talent (with Purvis making her West End debut too!) truly brought Michael Bond’s kind and inquisitive bear to life. The magic of the show is lifted by Tom Pyle’s scenic design work and Ash J Woodward’s videos that give a glorious excitement to the Savoy’s stage and surrounds.

There are some absolute gems in the show’s supporting cast, with Bonnie Langford as the wise old Mrs Bird stealing her scenes with her stunning stage presence. Matching Langford is Tom Edden, arguably the nation's master of physical comedy who nimbly steps back and forward across the fourth wall as Mr Curry, the bad guy who finds redemption. Victoria Hamilton-Barritt is deliciously boo-able as the baddy Millicent Clyde, as the quartet playing the likeable Brown family all put in a decent shift.

Jessica Swale has written the show’s book and Tom Fletcher, the music and lyrics. Paddington at heart is a simple fable and while the creative pair retain the essence of Bond’s stories, too much of their take on London plays out too politically, their rose-tinted view of the capital at odds with many of the city's more ugly realities. Musically, many of the show's early melodies are bland and often with lyrics that are disappointingly inaudible. It really takes until the second act for Fletcher’s compositions to break free of the constraints of his pop-music background and display true wit.

Luke Sheppard, truly the wunderkind of modern musical theatre direction knows how to direct a family show that looks wonderful, is acted brilliantly and makes for fine, fun family entertainment.

Booking until 25th October 2026

Photo credit: Johan Persson

My Fair Lady - Review

The Mill At Sonning, Sonning

****

Music by Frederick Loewe

Lyrics and book by Alan Jay Lerner

Directed by Joseph Pitcher

Mark Monoghan and the cast of My Fair Lady

Joseph Pitcher directs an entertaining take on My Fair Lady at The Mill at Sonning that sees Nadim Naaman play a perfectly clipped Henry Higgins opposite Simbi Akande's Eliza Doolittle.

In a class act Naaman nails the Professor in a performance that captures both the man’s genius as well as his insensitive chauvinism. Akande brings vocal excellence to Eliza but she needs to dig a little bit deeper to bring out her character’s complex fragility and chemistry.

There is excellence elsewhere in Pitcher’s company. Jo Servi’s Colonel Pickering is drilled to perfection. Sophie Louise Dann delivers her usual flawless work, doubling up firstly as Mrs Hopkins and also as an outstanding Mrs Higgins, while the inspirational Mark Monaghan offers up perfectly executed comic relief as Alfred P. Doolittle.

Sonning’s intimate space is transformed by Diego Pitarch’s designs that elegantly suggest the story’s locations, from Covent Garden to Wimpole Street to Ascot. Pitcher and Alex Christian co-choreograph the show with Get Me to the Church on Time an exquisite riot of dance.

My Fair Lady at Sonning is a Christmas treat!

Runs until 17th January 2026

Photo credit: Pamela Raith